Peavey BASIC 50 User's Manual
Contents
1. CAUTION TO PREVENT ELECTRICAL SHOCK OR FIRE HAZARD DO NOT EXPOSE THIS APPLIANCE TO RAIN OR MOISTURE BEFORE USING operatic cue The Basic 50 is the smallest lightest and least expensive model of the complete line of Peavey bass amplification systems But don t let the small size and budget price fool you the Basic 50 is indeed a professional system in quality and performance and it shares many important features with larger more powerful Peavey models The Basic 50 will produce over 50 watts RMS into an 8 ohm load It is equipped with an extremely heavy duty 12 loudspeaker The chassis and speaker are housed in a ruggedly constructed enclosure made of materials and covered with 34 ounce fabric reinforced Tolex Plated steel corners glides chassis straps and a heavy duty steel reinforced carrying handle improve durability and insure continued good looks The Basic 50 is very portable and will please both the student bass player and the professional for rehearsal studio or small concert applications Our DDT compression circuit U S Pat 4 318 053 maximizes the Basic 50 s performance so the amp does not run out of power headroom as easily as other manufacturers systems The DDT compression circuit eliminates most amplifier clipping and keeps potentially hazardous clipping distortion from reaching the speaker We have also included four bands of equalization a preamp out power amp in effects loop pre a2. Control is designed to enhance low fundamentals and harmonics for typical bass guitar applications This control is conventional in operation and is labeled Oto 10 and allows increased bass frequency emphasis with clockwise settings When the system needs to be extremely dry with less response for the extreme lows the control should be operated near counterclockwise rotation Care should be taken not to averemphasize bass response with extreme lows because headroom normally suffers under these conditions With the Basic 50 we are dealing with a moderately powered amplifier and extreme amounts of bass boost will result in significantly less headroom and overall performance G MID EQ CONTROL The Mid EQ Control controls the all important mid band which greatly affects the timbre and the overall tonal coloration of most any string instrument The Basic 50 may be equalized for the desired amount of midrange punch that is necessary to create those tones that are popular in the studio and during concert situations with this control This control operates on a Oto 10number scale and clockwise rotation indicates more emphasis for the mids while counterclockwise operation indicates less mics and a much drier overall tonality Proper adjustment of the midrange EQ is vital to the overall sound of many instruments and you should experiment with this control using your particular bass guitar and be familiar with the different tonalities that can be achieved by
3. THE CONTROLS PRESET AS FOLLOWS Pre Gain Pull Bright Off In Post Gain at 10 Low EQ at 10 Mid EQ at 0 High EQ at 10 Presence EQ at 5 Nominal Levels are set with Pre Gain at Minimum Levels are set with Pre Gain at 10 PREAMP HIGH GAIN INPUT Impedance High Z 220K ohms Nominal Input Level 24 dBV 60 mV RMS Minimum Input Level 48 dBV 5 mV RMS Maximum Input Level 6 dBV 2V RMS PREAMP LOW GAIN INPUT Impedance High Z 44K ohms Nominal Input Level 18 dBV 120 mV RMS Minimum Input Level 40 dBV 10 mV RMS Maximum Input Level 12 dBV 4V RMS PREAMP OUTPUT Tip of Stereo Jack Load Impedance 10K ohms or greater Nominal Output 0 dBV 1V RMS POWER AMP INPUT Ring of Stereo Jack Impedance High Z 22K ohms Designed Input Level 0 dBV 1V RMS SYSTEM HUM amp NOISE AT NOMINAL INPUT LEVEL 20 Hz to 20 kHz unweighted 74 dB below rated power EQUALIZATION Low Mid amp High Passive Type EQ Presence Active Type EQ Pull Bright 6 dB at 2 kHz Due to our efforts for constant improvement features and specifications are subject to change without notice Tolex is a registered trademark of DiversiTech General EXPOSURE TO EXTREMELY HIGH NOISE LEVELS MAY CAUSE A PERMANENT HEARING LOSS INDIVIDUALS VARY Ci ERABLY IN SUSCEPTIBILITY TO NOISE INDUCED HEARING LOSS BUT ROO EVERVONE MEL COSE COME TICARING IF EXPOSED TO SUFFICIENTLY INTENSE NOISE FOR A SUFFICIEN THE US GOVEANMENT S OCCUPATIONAL SAFETY AN
4. O HEALTH ADMINISTRATION OSHA HAS SPECIFIED THE TOLL OWING PERMISSIBLE NOISE LEVEL EXPOSURES DURATION PER DAY IN HOURS SOUND LEVEL dBA SLOW RESPONSE 1985 Printed in U S A Al salty me operating instrustons shoul be retanes tr Ts procuri should not be used near water Le a Datu Ts prouet shout be locates so tnat ns postion dows rot Interfre ath poser versation should not De piace Ma amant a wak Sr placed in BUIEN enclosure hat wl Iinpode tne low of eocting ar Ts product should rol Be paca near a source et such Bee Give Reagan swear heat Br PEAVEY ELECTRONICS CORPORATION 717 A Street Meridian MS 39301 U S A Telephone 601 483 5365 Telex 504115 9 Never oreak tthe ground pin anne power supply cra For More irfermton an greunaing we for our fra Docklot ited Hazard and Sunn Power supply cores soua always be nanea caratu Naver walk or pace equomes on power supply cords Beraaiealy NEEE corde N CUIS orignsol tess EDR IY lho pag and tn porn whore corer that Thepowersupely cora shouid se unpiuggeawnen neuritis ta e unused ar lang penod of te Mc pans con oe Cees win anp ag fre wodt Soveria usad on some units can De cleaned mina damp a ran annans pasee hovseheld clearet F necessa Tris uat sneuldbe eneeke by a qual tie sorce tecnaician G The unt nes been Soppec or e excise damaged 80300229 10 85
5. nd post gain controls and our very popular Pull Bright control All of these features add up to an unbeatable bass system within this price and power range Compare our quality features and performance with other similarly priced bass amplifiers You ll find the Peavey Basic 50is your best buy INPUTS HIGH Low GAN GAIN A BC D E F G H 1 J K L A HIGH GAIN AND LOW GAIN INPUTS The high gain input is the most sensitive and should be used first under normal conditions unless an extremely hot high level signal is patched into the Basic 50 if the high gain input should distort the signal then you should consider using the low gain input Thelow gain input is 6 dB less sensitive and will allow the preamp to take much more signal at the input without premature distortion If overload is audible then you should determine if the preamp is overloading or if the system is running out of power headroom with the internal power amplifier Our DDT compression circuit will virtually eliminate any power amp distortion so itis fairly simple to determine if the preamp is being overloaded Most instruments will patch as mentioned above into the high gain jack but occasionally a stronger signal such as an instrument with a preamp built in etc should be plugged into the low gain input 8 PULL BRIGHT The Pull Bright feature is activated with the pre gain control knob and is simply a pull push type switch which gives a brigh
6. rotating from full counterclockwise to fully clockwise H HIGH EQ CONTROL The High EQ Control determines the overall balance of high frequencies in the response of the Basic 50 The action of this control is similar to that of the low frequency and the mid controls except for its high frequency effect More high frequency content is obtained with clockwise positions while less emphasis is placed on the highs with counterclockwise operation I PRESENCE EQ CONTROL The Presence control boosts the high frequency response This control may be utilized to obtain that extreme high frequency boost that is necessary for playing thumb slap bass or for any reason where the extreme highs need to be emphasized Pick noise and fingernail noise may be greatly increased by rotation of the presence control clockwise By the same token a player who desires to have none of the pick noise or finger noise reproduced may eliminate a great degree of extreme highs by operating the Presence control near its counterclockwise position The operation of this control is conventional and you will note that it affects full frequencies above the frequency band of the high control J DDT COMPRESSION Your Basic 50 is equipped with our patented DDT Distortion Detection Technique compression circuit which senses the onset of clipping in the power amplifier and allows the system to remain clean This feature drastically reduces distortion which is normally heard when the
7. speaker receives a clipped distorted signal from the power amplifier section Speakers last much longer and the program material remains much cleaner with the DDT system There is an LED indicator on the front panel of the amplifier which indicates when the system has gone into compression There is no need to panic when this light begins to flash as it is merely stating that the system has reached its full power and no more output will be obtained in excess of the power limitations In a system without DDT the amplifier will continue to try to produce more power than its rated output and this would be noticed in the form of distortion K POWER LED The LED on the front panel whichis labeled Power PWR notifies the operator that the unit is receiving power from the AC mains andit is ready for operation L POWER ON OFF SWITCH The front panel of the Basic 50 includes the on off power switch and this device is a conventional two position rocker type with the on indication at the top and the off indication at the bottom E BASIC SO ereanr Z A y eS zpi rir g M BACK PANEL M LINE CORD For your safety we have incorporated a three wire line mains cable with proper grounding facilities It is not advisable to remove the ground pin under any circumstances If it is necessary to use the amp without proper grounding facilities suitable grounding adaptors should be
8. tness boost at very high frequencies This control may be used to emphasize pick noise or finger noise as the bass or other instrument is played To activate this control simply pull out the pre gain control and to deactivate this feature simply push the control back C PRE GAIN CONTROL The pre gain control is labeled from 0 to 10 and works conventionally This is the first control that your signal reaches after being patched through the input jack This control must be used in conjunction with the post gain control for optimum performance D POST GAIN CONTROL The Post Gain Control is a master volume control This feature determines the overall signal level of the preamp which is fed to the internal power amplifier For concert loud applications the post gain should be adjusted to a fairly high setting so thal the system will operate at maximum levels and remain as clean as possible For studio and other low level applications the post gain may be backed down toa4or Ssetting to optimize residual preamp noise for demanding studio applications For normal situations the post gain should be set somewhere around 7 to 10 so that headroom is not drastically reduced and then the instrument gain should be set with the pre gain control Be careful not to adjust the post gain to a ower setting than the pre gain setting when clean operation is desired Many times overload harmonics are desired for certain applications and those may be obtained with a
9. used Much less noise and greatly reduced shock hazards exist when the unit is operated with the proper grounded receptacles LINE MAINS CORD RETAINERS We have provided two large molded line cord retainers on the rear panel to allow storage of the mains cable for travel In operation the cable should be completely unwrapped to allow maximum heat dissipation from the rear panel DIAGRAM A PREAMP OUT OUTPUT POWER AMP INPUT EFFECTS DEVICE DIAGRAM B DIAGRAM C SS PREAMP OUT PREAMP OUT PREAMP OUT WITH INTERNAL PA SPEAKER POWER AMP FUNCTIONING NORMALLY INPUT PREAMP OUT WITH POWER AMP SPEAKER POWER AMP DEFEATED INPUT BASIC 50 SPECIFICATIONS POWER AMPLIFIER SECTION RATED POWER amp LOAD 50W RMS into 8 ohms with DDT compression and LED indicator POWER AT CLIPPING typically 5 THD 1 kHz 120 VAC line 36W RMS into 16 ohms 57W RMS into 8 ohms 45W RMS into 4 ohms 2 ohms not recommended FREQUENCY RESPONSE 0 2 dB 60 Hz to 10 kHz at SOW RMS into 8 ohms TOTAL HARMONIC DISTORTION Less than 0 2 100 mW to 50W RMS 60 Hz to 10 kHz 8 ohms typically below 0 1 DDT DYNAMIC RANGE Greater than 16 dB DDT MAXIMUM THD Below 0 5 THD for 6 dB overload Below 1 THO for 16 dB overload HUM amp NOISE Greater than 90 dB below rated power POWER CONSUMPTION Domestic 1450W 50 60 Hz 120 VAC PREAMP SECTION THE FOLLOWING SPECS ARE MEASURED AT 1 kHz WITH
10. very low setting of the post gain and a fairly high setting of the pre gain control E PREAMP OUT POWER AMP INPUT The preamp out power amp in jack is located on the front panel and is astereo or two position type jack In order to interface an effects device or any additional equalizer etc into the Basic 50system astereo 4 phone plug must be used The preamp outputis on the tip ofa typical stereo plug and the power amp in is on the ring or the second position of the plug see Diagram A When a preamp output only is desired it is obtained by using a mono 4 phone plug inserted only to the first click Care should be taken not to insert amono phone plug all the way into the second position because the preamp output would be obtained but the power amp would be switched off In certain studio applications however this second patch with a mono phone plug is desirable when the internal speaker and internal power amp is not needed For patching in effects devices the stereo phone plug should be wired as follows The tip connection which is the preamp output should go to the input of the effects device and the output of the effects device should be connected to the second position of a stereo phone plug which is the ring Shielded cords should be used for all preamp applications Peavey offers a patch cord for this purpose in our accessory program see Diagrams B amp C Y Stereo Patch Cable Peavey Part 0005299 F LOW EQ CONTROL The Low EQ
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